• Your one stop for college news and resources!
BlacKkKlansman

The Relevancy of BlacKkKlansman

The Spike Lee-directed, Jordan Peele-produced summer movie BlacKkKlansman was everything you can imagine from the title. A story based on real events has hit the movie world to surprising success. Making over $10 million dollars in sales on its opening weekend, it also received countless standing ovations at festivals, including the theater I saw the movie in. The in-depth story of the first black officer in Colorado Springs quickly transitions into a sting operation, where the same officer successfully infiltrates the Ku Klux Klan. Set in the 70s, the story is littered with racial bias and nuances of the time period. Strong racial language made the story a bit heavy at times but to see a glimpse of the neo-Nazi ideology unfold will serve as a beacon for truth for many years. Let me explain why.

BlacKkKlansman is not some righteous portrayal of a cop doing good for his people but simply an accidental operation that turned out to land on the morally right side of history. It is more of a detailed manifestation of the undertones of white nationalism and white supremacy. It is distinct and precise in its approach to gain access into the world of the “Organization” better known as the KKK.

Spike Lee showcases his directorial genius by creating a film that almost reminds you of a self-serving KKK documentary than a counter-operative mission against them. He slowly takes the audience through the underworking of hatred and how it is derived through the use of “white nationalism” and “white supremacy,” while displaying the glaring differences between “white power” and “black power”. The movie starred John David Washington as Ron Stallworth, and Adam Driver as Flip, who becomes the white version of Ron Stallworth when the KKK asks to meet him in person. The interesting dynamic is that Flip is a Jewish man who has never acknowledged his heritage. The film is a peculiar depiction of a black man, Stallworth, discovering himself alongside a Jewish man, Flip, who is discovering his own religious and political ideology as he fights through the racial discomfort in the presence of neo-Nazi’s, who believe the Holocaust was a hoax.

This film was not made for black folks to stand and clap at the end. This movie was made for white Americans who seem to align themselves with hateful rhetoric, purposely or not. This movie is more about the group of white cops who allowed this black man to infiltrate and thwart the radical ways of the KKK chapter in Colorado Springs. Spike Lee uses smart and seemingly clear-cut references that make you feel as if the story could happen at this very moment in time. This was displayed most effectively in a scene with storied activist/philanthropist Harry Belafonte sitting in the famous bamboo chair that Huey Newton of the Black Panthers sat in, telling a story to the Black Student Union. In this scene, Belafonte recounts a story about Jesse Washington, a black man who was lynched in 1916. This story sets a tone for the climax of the film and offers some insight on how black America has dealt with oppression and violence throughout the century.

Why is BlacKkKlansman so relevant?

This movie is relevant because it is eerily relatable to the political climate of today. President Donald Trump’s lack of empathy and disregard for human life has stirred racial feelings similar to the timeframe of this film. It comes on the one-year memorial of the death of Heather Heyer, who was murdered last year at the Unite the Right Neo-Nazi March in Charlottesville, Virginia, which is detailed before the closing credits. This unimaginable hatred still exists in our country and BlacKkKlansman doesn’t shy away from that point at all.

Spike Lee has publically spoken out against the president and he isn’t reluctant in dealing with that in the dialogue of the movie. He was able to drop subtle lines that make you think and at times cringe. Overall, the film is great and full of small details worth exploring on your own. The biggest take away I got from the film is that it was a black man articulating the story of the KKK. In a world full of cultural appropriation, it was a clear-cut thorn to the side of the KKK and as a black man, I appreciated every moment of it. I do want to give a legitimate shoutout to That 70s Show star, Topher Grace, who played a young David Duke, Head Master of the KKK. The cast who played the Neo-Nazi organization was phenomenal and really made the movie as real as they can make it.

What we learned

If we only learn one thing from the film, it’s is that in order to fight hatred and racism we need to work together. It can’t be the hated fighting the hateful while the undecided sit on the sidelines. Those that are not on the side of hate should put their lives and careers on the line as we do to eradicate these hateful ideologies from our American society. BlacKkKlansman will go down as one of Spike Lee’s most important films.

Spike Lee’s BlacKkKlansman- 4.5 out 5 stars

Further reading: Bo Burnham on Eighth Grade

Bo Turnham Eighth Grade

Bo Burnham on Eighth Grade

Comedian, musician, actor and writer Bo Burnham talks with College News about the upcoming release of his directorial debut Eighth Grade, anxiety and life as a comedian.

College News: Let’s talk about your directorial debut, Eighth Grade. What has the response been so far?

Bo Burnham: The response has been really lovely so far. We’ve only shown it at a few festivals, but it feels like it’s connecting with people which is very, very nice and relieving.

CN: Eighth Grade centres around shy 13-year-old Kayla. You have spoken often about the character being the vessel with which to voice your own thoughts and feelings on the world. Were there any challenges you faced when it came to writing her character and how did your initial character ideas evolve as you wrote the film?

BB: The challenge was always trying to capture this voice authentically. My disconnect from her was two-fold: I was never a 13 year-old girl, and I was never 13 years old right now. And I knew both of those things lent themselves to a specific experience that I couldn’t fully understand. And the answer was just to research—and Generation Z is very easy to research. They post literally everything about themselves in real time online. As far as the ideas evolving, it all evolved once Elsie Fisher [actress who stars as Kayla in Eighth Grade] got involved—I told her every day that I wanted this movie to come to her and not the other way around. Once real kids got involved I deferred to them for the sort of nuts and bolts “truth” of the thing.

CN: When conceptualizing and writing the screenplay for Eighth Grade, what themes and topics were you keen on portraying through the characters and the plot?

BB: I wanted to talk about the internet and about anxiety. I have struggled with anxiety a lot in my life and have felt that my anxiety has deep ties to the internet in some way. And this story felt like the best way to explore it. I think the internet makes eighth graders out of us all.

CN: There is a pivotal, sexually awkward scene during the film that sees Kayla apologise to older character Riley for not being intimate with him. Was this scene written with the current political/social climate and #MeToo movement that’s currently engulfing Hollywood in mind?

BB: Definitely not. This was written two years ago and shot last summer—but I’m happy that people see that scene as in alignment with the values and concerns of the #MeToo movement—as I think it’s a vital and insanely overdue public conversation. And we still have a long way to go, especially with young people, in educating them on consent and sexual behaviour.

CN: You have had an extensive and thriving career as a comedian. How would you describe your comedic style?

BB: Trying very, very hard. Effortful!

 “I have struggled with anxiety a lot in my life and have felt that my anxiety has deep ties to the internet in some way”—Bo Burnham

CN: A common reaction that comedians and comediennes receive is backlash and criticism for using un-PC language or satirising socially sensitive topics. Has there been a particularly standout moment where this has happened to you? How do you deal with that kind of backlash personally?

BB: Oh sure I’ve dealt with backlash for things I said, especially when I was younger, 17 or 18 years old just trying to say the most offensive things because that’s what I thought comedy was. I tend to only look back on that stuff cringing at myself, not at the people objecting to it. I feel like comedians get to express themselves all the time, so they shouldn’t start complaining when the audience wants to express back.

CN: Can you tell our readers about how you got your break in the industry and how your career evolved into the realm of film and television?

BB: [I] started posting videos on YouTube and those sort of took off. And then it was just a sort of long, weird journey of performing stand up everywhere and quietly writing scripts in my free time. And then when it felt like I had gotten enough momentum in the comedy world to justify getting a small budget for a movie, I dropped stand up and started working on this movie. And here we are! And death next, I think!

CN: Writing is very much central to your career having written for your own comedy performances, television shows and now film. Can you tell us a little bit about the writing process for you? How do your ideas emerge and manifest into full-rounded projects?

BB: Honestly, they are often not full-rounded until the very end—if they get there at all! The initial point for me, usually, it just reading books or watching movies and just getting excited about things I like. And then trying to daydream and find any sort of ledge I can grab onto to start climbing towards something. My ideas usually start very specifically with an image or a scene or a moment—not with a THEME or some BIG SWEEPING IDEA. I like to start from a moment or image that I really love and then work outward. Because it’s really the moments that I’m going to be working on, and it’s the moments that people will experience, so if a moment can’t work out the gate, it feels not worth the time. That may make no sense.

CN: What three key pieces of advice would you give to budding young comedians, actors and writers that you wish you had been given yourself when you were starting out?

BB: I would say relax and enjoy it. I do believe that the best part of the creative process is available to everyone—just doing it. Just starting the process of picturing things and making things and seeing how they turn out and editing and making yourself better. Just start and jump in and don’t worry if you suck out the gate. This is what I try to remind myself of all the time. Just focus on what you can control which is your work and your ability to get better by your own standards. Just do the work and enjoy it. The whole reason to do creative things is to be able to do something interesting and enjoyable and the interest and enjoyment is available right away!

CN: Do you have any new and exciting projects on the horizon for 2018 and early 2019 that our readers should keep an eye out for?

BB: Just Eighth Grade. Hopefully in the next few months I’ll bang my head against a wall and something will fall out. But I’m only seeing tumbleweeds at the moment. Help!

> Watch Eighth Grade at cinemas from July 2018.

Further reading: Summer Blockbusters 2018